Test of Time started very organically in the spring of 2012 by a group friends with a mutual admiration for the straight edge and a desire to form a band that was different than what was currently dominating the Boston scene. Chemistry was immediate as songs flowed out at an alarming rate. The band, featuring noted Boston-area photographer Todd Pollock (vocals) alongside Charles Chaussinand (guitar ex No Harm Done, Offsides, Make or Break), James Christopher (guitar/vocals ex The Effort), DJ Butler (bass) and Jeff Novak (drums) quickly self-recorded and self-produced their debut 10 song EP Inclusion. After a well-received release and playing numerous shows with bands they never thought in their wildest dreams they’d share the stage with, Test of Time continued to write material at a steady pace.
The band quickly caught the attention of Bridge Nine label owner Chris Wrenn and the partnership with Test of Time was almost immediate. The band said they are excited to work with Bridge Nine as the label “…inspired us and continues to inspire generations of punk/hardcore music.” Already having a wealth of songs at their disposal, Test of Time will release a new 7inch, as well as a new full-length LP, in 2013 on B9.
After doing a review of UK artist Maycomb’s recent album “I Opened My Heart to Caustic Things”, we asked them if they would be interested in doing an interview with us. Guitarist Jonathan Ward offered to sit down and respond to our questions..
How did you guys all meet and decide to start a band?
We mostly all knew each other from playing in different bands from around Wolverhampton. I was asked to join a band that Jimmy (Taylor – drums) was in, and we got on really well, even though the band wasn’t so great. We found ourselves looking for a bass player, and that’s how we met Simon (McCoy – vocals and bass). Simon played bass for us for a little while before any of us realized he could sing. When he started to write and record some demos of his vocals, around the same time that the band was falling apart, the three of us decided to form Maycomb with Simon singing lead vocals. After a couple of years, and many different line-ups, we asked Jack (Owen – guitar) to join the band. He had been filling in for a few shows we had, and the chemistry was really good between the four of us. It’s the four of us playing together that makes Maycomb sound the way it does. It’s pretty special – I can’t imagine it working with anyone else.
Did you know you wanted to perform/make music?
I can’t speak for the rest of the guys, but I knew that I wanted to make music from a very early age. A lot of my family members are musicians so I was always surrounded by music while I was growing up and was often being dragged along to gigs in pubs and bars. I started taking music seriously around the age of 12, when I began asking my dad to teach me some stuff. There were always instruments lying around the house that I could pick up and practice on, and my family were very supportive of my musical endeavors I’ve been very lucky in that respect. Often the biggest obstacle getting into music is actually getting an instrument to play and finding someone who will teach you the basics. I think the other guys in the band might have gotten into music a little later, but I know that they all have equally supportive families, and I think that’s important – it’s good to have someone to encourage you.
What are your favorite things to do when you’re not performing?
As a band, we really enjoy writing music. If we don’t have any shows coming up, we usually spend our time working on new demos or ideas. It’s a really fun, creative process and even if a particular song you’re working on doesn’t end up being used for anything, there’s always something you can take from the experience of writing it. You learn so much from the demoing process that even mistakes are useful experiences. We also spend a lot of time practicing. When we perform, we like to know that we’re playing the songs to the best of our ability, so just running through everything a few times a week helps to keep us tight and solid. Outside of the band, in our spare time, we all enjoy reading books, watching movies, playing computer games, and drinking some beers in the sunshine.
How did you come up with the name of the EP?
The name, “I Opened My Heart to Caustic Things’”is the first line of one of the songs on the album. When we went into the studio to record, we were all pretty certain that the album was going to be called “Start Missing Everybody”, but then as Simon was recording the vocals, the line ‘I opened my heart to caustic things’ really resonated with me. I’d heard it sung before, but right at that moment, the line caught my attention. It seemed to encapsulate how I felt about a lot of things at the time, and equally, the struggles we’d been through as a band to get to the point where we were able to record our first full-length album. I couldn’t get it out of my head. I suggested it as the album title, and we all argued about it for a couple of weeks until we were all happy with the name. I’m really glad we went with it. It’s very personal and really helps to make sense of that period of my life.
Where do you draw inspirations from to write songs?
We never really draw inspiration from just one particular place, or write songs in just one way. With the album we sort of settled into a system, where we’d write and record some guitar parts that we liked, and then Jimmy would write and sequence the drum parts on a computer, while Simon would write the vocal melodies, backing vocals, and lyrics. We’d piece all the parts together, iron out the kinks, and then try to learn how to play it. Sometimes, the process didn’t quite work, and there were a handful of song ideas that we never really developed properly. But for the most part this worked well. Lyrically, Simon drew inspiration from many places. There are songs based on books, films, and even computer games. It was daunting writing a full-length album from scratch, so we tried not to limit our creativity so as to give us the best chance of keeping it interesting.
What songs/bands are currently on your iPod?
I think one of the best things about playing in Maycomb, is that all of our individual musical tastes are very eclectic. We like so many different kinds of music, and pop-punk is the point where all of our interests meet. I think playing in a pop-punk band and interacting with other pop-punk bands, and keeping up with pop-punk news means that pop-punk is often the last thing you want to listen to on your downtime. It’s good to draw inspiration from all styles of music, and broadening your tastes helps you to appreciate different artists that are making different music. I think it surprises people to learn that you’re not always listening to pop-punk. Recently, I’ve been enjoying music from Tokyo Police Club, Vampire Weekend, The Streets, Pulp, Tegan and Sara, Gang Starr, Carly Rae Jepsen, The Hold Steady, and a brilliant British band called Tellison. Tellison are so criminally unknown. I truly think they should be the biggest band in the UK. They’re flawless and a fantastic live band. I urge anyone reading this to check them out. The Hold Steady is kind of my go-to band. If I’m ever unsure of what I want to listen to, or if I don’t know what I’m in the mood for, I put The Hold Steady on, and it’s always a good time.
What do you hope to accomplish with the band in the next year?
I think touring is pretty high on our list of priorities. It’s been a while since we did any proper tours, and it’d be a good chance to showcase some of the album tracks. It’s tough because we have to arrange shows around everyone’s jobs and when we can get holiday time and are free. Logistically, it’s tough to organize but it’s definitely something we’re aiming for over the next twelve months. We’ve been jamming out some new demos, and developing new ideas for our next release. It’ll probably be another album, and things are coming together really well. It’s interesting because after our EP we knew we had to do an album, so we began writing with that in mind. This time there’s a lot less pressure, so we’re taking our time and experimenting with different sounds and ideas to really make this next record the best it can be. A lot of the songs are only half-developed at the moment, so over the next year it’d be nice if we could get ourselves into a position where we could start thinking about how we’re going to record it.
What bands would you like to tour with/work with in the future?
We’ve been lucky to have had the chance to work with so many great people during our time as a band. It’s crazy how many like-minded people you can meet through doing this, and they’re all sickeningly talented. All of the illustrators, promoters, producers and bands we’ve met have all been a pleasure to work with, and it’s so much easier when everyone is doing it for the right reasons. Touring with The Wonder Years, opening for Saves the Day, and working with some incredibly patient people (I Am Mighty Records, Frankie Torpey – producer, Daniel Fishel – illustrator) to help put out our debut album have all been real highlights from our time in the band. We always say that it would be a dream come true to tour with Motion City Soundtrack. They are a huge inspiration to us, and I think they’re probably the only band that we all admire equally. If we ever got the chance to open for them I’m pretty sure we would lose our minds.
Who are your musical influences/heroes?
Personally, a lot of my musical heroes are artists I grew up listening to. People like Bob Dylan, Paul Simon, Bruce Springsteen, Morrissey, Stevie Nicks, Ray Charles, Sting, and Phil Collins helped to shape my understanding of music. They inspired me to try to forge my own sound and to develop my own way of playing and performing. With more contemporary artists, I find my appreciation gravitating more towards drummers. I think part of it is that I really would like to be able to play the drums. I really admire a drummer who is not only extremely talented, but appreciates the song and strives to compliment it with their parts. With that in mind, Derek Grant from Alkaline Trio absolutely blows my mind. He has such a great style when he plays and I really could watch him all day.
Do you think it’s harder to appeal to an American audience and break into the pop-punk scene?
Honestly, I would assume that it was probably easier to appeal to an American audience. Pop-punk as a genre is interesting because while I’d argue that, with a few minor exceptions, it’s not a mainstream genre of music, it’s also massively over-saturated. There are so many bands making pop-punk music, in relation to the amount of people that listen to pop-punk music, that it’s often difficult just to be heard. The UK is quite a small place really, so naturally the audience over here is smaller than that in the states. It also means tours are usually pretty short runs as they can cover most of the area in a couple of weeks or so. By comparison, the US pop-punk scene is on a much grander scale. I can imagine tours over there being quite different to how they are here. You probably have to work twice as hard, but the payoff is likely twice as big. There seems to be a real market for good American pop-punk bands to come over to the UK at the moment – a trend that can only be a positive thing for both US and UK pop-punk.
At what point will you feel that you’ve “made it” as a band?
It’s difficult to measure our success. Being in the band makes it tough to see it objectively and hard to judge how well we’re doing. I think putting the album out was a humbling experience, in that for the first time we realized that we actually have a fan base. People have always been kind towards us and often say nice things, but the fact that such a great number of people we’re willing to put down money on a pre-order for a record they’d not even heard yet was overwhelming. Obviously, there will always be things we want to do with the band and goals we’d like to achieve but realistically I’d say that we’re extremely happy to be where we are. We always said that as long as we’re making the music that we want to be making, then we’re happy. The fact that anyone else is into it too is awesome.
How do you hope to progress with your music?
I’m really happy with how the new songs we’re working on are sounding. We used to have such a rigid formula for writing our material, and the stuff we’re working on at the moment is being given a lot more freedom. We’re experimenting with different sounds, and instruments, and not trying to worry too much about how we’re going to play it live just yet. It has a lot more heart than our earlier material and, as such, it feels a lot more personal. We’re all excited to keep working on it. I can’t see us growing bored of playing music together any time in the near future. As long as we’re still having fun, we’ll keep making music.
Be sure to check out facebook.com/maycomb for more info on the band. We really appreciate Jonathan taking the time to chat with us! - Nicole
I attended the Electric Factory for night one of the two-night, back-to-back performances. I had very high expectations for this show; in the 15-20 times I’ve seen ATL since 2007, they’ve always put on a stellar show no matter the venue or crowd, and this being my first show in 2 years, I was excited to finally get to see them again.
You Me At Six and Mayday Parade gave solid opening performances, getting the crowd of 5,000 hyped up for All Time Low and Pierce the Veil. Both bands played a mix of new and older hits that everyone in attendance thoroughly enjoyed.
But I must admit to having a serious gripe with this particular show date when the venue, without warning, decided to move the sold out event outside. The venue, responding to such high ticket demand, made the move outdoors, as well as adding a second night to the bands’ booking. The only problem with this is that in the Northeast at the end of April, it is definitely not warm enough to be able to enjoy a concert outside when the nights still get pretty cold.
When it was All Time Low’s time to take the stage, they came out with their patriotic robes and their individual theme music. The “let’s get ready to rumble” announcer had hysterical, yet accurate, descriptions of each band member as they were introduced to the stage.
The crowd was ready to go, and they came out forcefully with “Lost in Stereo.” They had a solid start to the first few songs, but about three songs in, the worst thing that could happen to a band while playing a show to thousands of people happened - the PA System went out. Yet the band tried their damndest to play through it.
The new single off of their album Don’t Panic, “Somewhere in Neverland”, which I was very much looking forward to hearing, had its own share of problems. About halfway through the song, the drums and guitars kind of just stopped to much confusion (Kris Roe should be taking notes right about now). Alex offered to sing through the rest of the song with assistance from the audience, and was straining to get his voice heard to the crowd all the way in the back.
The problems with the PA system made them sound awful and off-key, but they continued to play through one more song before deciding they couldn’t continue. They apologized to the fans and took a quick 5 minute break allowing the sound techs to come in and fix the issue. The band all handled themselves very professionally following the “incident” - there was no drum throwing or guitar smashing to be had.
In true ATL fashion, they really were able to stay positive, cracking jokes through the whole issue, and they did a fantastic job getting the momentum of the audience back into full swing. Even once they came back, Alex pointed out that the rhythm the crowd had going was no longer there. The PA system was still in and out for the next few songs, and I was literally straining to hear them over the people talking next to me at some points.
At this point I couldn’t even say I was annoyed any longer, I just felt disappointed and empty inside. I’m also a full believer of post-concert depression on a good day, but this couldn’t even compare. I truly commend ATL for pulling through the mishap, but I could just not get past it, not to mention, since they weren’t headlining this show, their performance time was cut a little as well. By the end of the set, they literally had to play through the last 3 songs so they could keep on schedule, cutting one of them short and just continuing into the next.
They closed out strong with their staple, “Dear Maria,” which made my night a little bit better since it’s such a feel-good song, but I guess at that point I was more drained from all of the negatives that were happening instead of the positive.
Although I left frustrated, I certainly do not blame the band whatsoever for any of this, it was not their fault with what happened and they did the best with what they had. From a fan’s standpoint, I very much appreciate the fact that they didn’t want their fans to have to listen to shitty music and wanted everyone to get what they came to see. Also, I value what they did to keep the crowd motivated and how they literally played their hearts out. They left everything they had on that stage.
In the 40-degree weather on the clear night in Philly, Pierce the Veil closed out the show. From what was left of the crowd, they put on a pretty solid performance. I’ve never had the chance to see them in concert before and they had such liveliness that really got the crowd re-energized. I really wish I could’ve bared the cold longer to watch their entire set, but I’m pretty sure hypothermia was setting in.
I still love All Time Low and will absolutely see them again, but it just sucks that I had to leave without feeling satisfied before post-concert depression even set in. And on a side note, I checked Twitter and Alex posted a tweet that said, “Made it back to MD before little baby Ruocco’s delivery,” which probably explains why they didn’t close the show last night. I really wish I didn’t get so screwed over on the date that I went to, but I guess it’s just a lesson to expect the unexpected sometimes. - Nicole
She’s baacckk! Hayley Williams and the remainder of Paramore, Taylor York and Jeremy Davis, (after the abrupt departure of the Farro brothers) have recently released their new self-titled album after a four-year hiatus.
Their bold new seventeen-track album takes some chances with a less poppy-rock Hayley Williams, who has been transformed and been reinvented with a twist of more Gwen Stefani-esque vocal influences.
When I first heard the single “Now,” I hated it, but the more you listen to it, the more you warm up to it. The first lyrics Hayley sings, combined with the rhythm, is reminiscent of the musical stylings we’ve heard from Gwen Stefani from her L.A.M.B. album, but then you get into that first pre-chorus, and you hear the old Paramore, which is refreshing. I knew after their hiatus they would be coming back with a different sound, and I’m still trying to figure out if I love it or not.
Powerful lyrics like “Feels like I’m waking from the dead/ and everyone’s been waiting on me” and “bringing my sinking ship back to the shore” evokes the feeling that this is song is personal, deeply emotional and a big slap in the face to the Farro brothers - the lyrical version to their side of the story after the split.
The Farro brothers played a major role in past lyrical and instrumental contributions, so I was curious to see how this would turn out. But it looks like Paramore is indeed up and running again.
The overall album has many vengeful-sounding lyrics and is coming from a much darker place than the past few albums. Many fans were disapproving of Paramore’s new sound, but they have to understand that as a band grows and members’ lives progress, the music will change to reflect what is going on in their personal lives. If a band stays in the same place with their music on every album, it will quickly get stale and old.
Following their success with their sophomore album, Riot!, Paramore became a household name gaining millions of fans worldwide. And after hits like “Misery Business” and “Brick by Boring Brick,” from Brand New Eyes in 2009, this new style is something Paramore fans must get reacquainted with.
They’ve shown that after all of the politics and bullshit they’ve gone through over the past few years, they can’t be broken. I think overall the album will grow on fans around the world and if they don’t like it at first they will eventually. - Nicole
Czar Bar is quickly becoming a new favorite venue for me in Kansas City. It’s a perfect mesh of metal and punk rock without the feel of being in some kind of hovel, and the sound has is always solid.
The show kicked off with Keef Mountain, a local two-piece stoner/doom band crafted by guitarist/vocalist Jake Hayde and drummer Dillon Bendetti (of No Class). While their style of music never particularly interested me, Keef Mountain’s performance, kept me engaged from start to finish, and is easily something that fans of Electric Wizard would take much delight in. Hayde crafts his melody through the proper utilization of his Sunn Model T, with a few different pedals for good measure, that add just the right amount of grit to his tone. I’ve seen Bendetti play in faster punk bands, and his performance with Keef is quite the departure. He proved that not only that his drum chops aren’t limited, but that he’s incredibly creative and solid behind his kit no matter what style of music he’s going for. Keef Mountain is a sort of duo that doesn’t necessarily need bass backing it up. It’s so low and heavy that your head will be pounding by the end of the night one way or the other.
A set change brought in Milwaukee’s Enabler, one of the more solid bands coming out of the crust-laced hardcore genre right now. The last time I saw Enabler play, Andy Hurley (of Fall Out Boy) was still drumming with them. Though Hurley proved to be an immensely solid player, the band’s new drummer Chris Zugschwert seemed to have zero issue filling in those big shoes. Guitarist/vocalist Jeff Lohrber has molded his band’s overall tone to a degree of considerable perfection. Amanda Daniels’ bass was driving and dirty the entire set, though I would have opted to up her overall volume a tiny bit more. Lohrber and guitarist Eric Dunn have that sort of chemistry that so many bands of a similar vain wish they could find. Eric provides most of the leads in this band, and considering how fast and punishing Enabler tend to play, it’s not only mind-blowing how accurate and pristine he plays, but also fun to watch as well. On the note of how fast paced this 4-piece is, we can talk about Lohrber’s high level of skill in his own right as well. Providing lead vocals, whilst blazing through some of the rhythm guitar riffs he plays at the same time showcases just how talented this drummer-turned-guitarist is since his disbanding of his former band Harlots. The entire set was beautifully gruesome from beginning to end. This is a band that if you haven’t had an opportunity to watch perform, then it’s time you consider making a road trip if you must.
The night concluded with a powerful set by San Francisco’s Early Graves. I’ve been watching and playing shows with this band since 2006 when they were called Apiary – when they were playing a completely different style of metal. I actually joked with guitarist Chris Brock that I don’t believe that in the 7 years they’ve been coming through Kansas City that they’ve played a single venue here twice. Such was the case for their first appearance at Czar Bar. Despite the many times I’ve watched Early Graves, this was the first that I’ve seen them perform since their addition of The Funeral Pyre vocalist John Strachan. Fans of Strachan’s other musical endeavor may be curious to see how a qualified black metal vocalist fits into the sort of blend of metal and hardcore punk that Graves provides. I can submit after this experience that Strachan is rounded more than enough to get the job done. His vocal tone complimented these heavy jams in the same way that a hammer compliments a nail – just driving it right in where it’s supposed to go. Musically Early Graves plays a blend of hardcore punk that easily makes apparent it’s roots in thrash metal, particularly the sort bay-area thrash that is local to these brutes. Brock and guitarist Tyler Jensen equally match each other all over the board. Between their own abilities to masterfully shred leads out, and bash the listener consistently with brutal rhythm sections throughout every song – you almost have to ask yourself how you’re even still comprehending reality by at least halfway through their set. The backing vocals provided by bass guitarist Matt O’Brien are of a caliber that cater to the overall fury of Strachan, and provide a sweet touch to the overall vocal experience. Dan Sneddon played a solid enough set behind the skins that he’s truly worthy of playing with any of his better-known neighbors. The guy has a precision grind blast at times that just gets me amped; and he plays so fast, and so sharp with seeming ease that I wonder if he’s actually a human being. Overall it was good seeing Early Graves back here again, while I’ll always miss the amazing performance the late Makh Daniels brought with this band, it’s a relief to see this band still going strong, and with the great new-ish addition and friend they’ve welcomed into their entourage. It’s interesting that this show actually had Enabler and Early Graves performing together by mere coincidence of being on separate solo tours needing the same date in the same place here. This is a pair that absolutely would be perfect doing a whole slew of dates together. Who knows what the future holds. - Dustin
In 2011, Fallujah released their debut opus, The Harvest Wombs, to some great critical acclaim, and no shortage of ordeals to overcome soon after. After a flipped van and a battle with cancer (drummer Andrew Baird), most bands would have broken up. Yet nothing can stop what are arguably some of the hardest working kids in death metal, and the San Francisco-based quintet have delivered again with their three song EP Nomadic.
Fallujah have become a band that is harder and harder to define as they progress forward. Their roots are clearly in death and black metal, with a great focus on the technical aspects of each genre, yet they have enough talent and focus to channel progressive aspects to their compositions. With Nomadic, we get much more of the progressive nature by way of additions of layered synth, added production methods, and riff arrangements with a greater emphasis on melody. Guitarist Scott Carstairs proves his thought-forward, though rational take on music theory throughout his compositions on the EP. The opening track, “The Dead Sea”, takes you to a place that feels just outside of space and time, if you close your eyes and focus enough. His leads throughout the album show not only what a capable player he is, but that he is rounded out enough to play any kind of music. Thankfully for us metal fiends he continues to feed us with his impressive array of talent in this particular genre. Even the ambient, guitar and percussion lacking track, “Silent,” is something that is crafted to provide you with a beautifully haunting experience of a listen.
That’s not to say that Nomadic escapes the band’s tech death, and black metal leanings that they’re most familiar with. “Venom Upon the Blade” feels as though it contains the best left-over riffs from their Leper Colony EP, with guitarist Rob Maramonte dicing away on mind melting tremolos, at the same maniacal speed and precision of Baird’s blasting on drums. Since Baird’s recovery he has proven that he is not only one of the most fiercely talented drummers in extreme music today, but he might also be God himself. Where you often see vocalists change their tone over time, Alex Hofmann has not lost a single hint of ability to provide punishing lows, and his own patented highs.
The year is still early, but Nomadic is easily a contender for the best metal EP of 2013, and Fallujah as one of the most groundbreaking metal artists right now. It will be exciting to see where they’ll venture to next, especially with their eventual sophomore full-length album on the horizon. - Dustin
The indie songwriter collaboration, Golden Youth, will be releasing their debut album, Quiet Frame; Wild Light, via Slospeak Records on May 28th, 2013. Golden Youth is an innovative band that focuses on orchestral instruments to convey their driving songs. From timpani’s and vibraphones to flutes and celeste, they pair unconventional instruments to accompany their memorable melodies. Top that off with soaring female vocals and Golden Youth’s debut record Quiet Frame; Wild Light will remain in your record collection for years to come.
He’s back! Following the release of last year’s critically acclaimed seventh album ‘Spirit Bird’, Australian musician Xavier Rudd is coming back to the US & Canada for a stint of Summer festivals and headlining shows! The multi-instrumentalist, surfer, animal rights activist and nature conservationist Xavier Rudd is at his most creative on his most recent release, Spirit Bird – once again painting breath-taking pictures with vivid, unmistakable tones. Hypnotic ceremonial rhythms ease effortlessly into tender folk songs. Gritty guitar blues sits perfectly alongside entrancing yidaki passages. Rudd’s voice and the voice of his ancestors yet again bear intense truth and knowledge.
Don’t miss Xavier Rudd this summer:
*with Nahko and Medicine For The People
July 07 – Toronto ,ON – T.U.R.F Festival
July 10 – Cleveland, OH – Beachland Ballroom
July 11 – Chicago, IL – Lincoln Hall
July 12 – Apple Valley, MN – Minnesota Zoo Amphitheatre
July 13 – Winnipeg, AB – Winnipeg Folk Festival
July 18 – Halifax, NS – Olympic Hall
July 21 – Portland, ME – Port City Music Hall*
July 23 – New York, NY – City Winery*
July 25 – Asbury Park, NJ – Stone Pony*
July 26 – Baltimore, MD – Rams Head Live*
July 27 – Floyd, VA – Floydfest Music Festival*
July 31 – Phoenix, AZ – The Crescent Ballroom*
August 2 – Santa Cruz, CA – The Catalyst
August 3 – Petaluma, CA – Petaluma Music Festival
August 5 – San Juan Capistrano, CA – Coach House*
August 6 – Solana Beach, CA – Belly Up Tavern*
August 7 – Solana Beach, CA – Belly Up Tavern*
August 11 – Bellingham, WA - Summer Meltdown Festival
August 16 – Loveland, CO – Arise Music Festival*
…plus more shows to be announced!
Hopeless Records released their latest Take Action compilation earlier this year, the 11th if you’re keeping score, featuring a wide array of bands ranging from The Used (who headlined this year’s Take Action Tour) to William Beckett (formerly of The Academy Is…).
The Take Action compilations allow various artists to release rare, acoustic, or previously unreleased tracks for a good cause. Hopeless Records has been releasing these albums since 1999 in order to benefit various charities through their non-profit, Sub City.
According to their website, “In 1999 we at Hopeless Records got the crazy idea that if we gave bands and their fans the opportunity to connect their talent and passion with causes that were important to them that we could make a positive impact through music. In our first ten years, the Sub City concept has already raised more than 2 million dollars donated to over 50 non-profit organizations.”
This is indeed a great way for bands to get involved and make a difference while simultaneously giving fans something new to cherish. Many of the featured acts have huge fan bases and can use their talents to make people aware of many social concerns such as bullying, violence, and the lack of art programs in schools.
This album is sure to please any fan, even if it’s just for one song. Give it a listen! - Nicole